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George Washington Jean Antoine Houdon, Sculptor 


HANDBOOK 
of the 
DEPARTMENT OF DECORATIVE ARTS 
of 
EUROPE AND AMERICA 


by 


EIQWIN J HIPKISS 
Curator of the Department 


Pu shUM- OF FINE. ARTS 
BOSTON, MASSACHUSETTS 
1928 
SOT GAL L ERY 
ag eee AN ART, 


ER: 
PHILLPS “AC ADE! MY, ANDOV 


2 


FOREWORD 


HE DEPARTMENT OF DEcOoRATIVE ARTS OF EUROPE 
ale. AMERICA 15 new in name and new in arrangement 
at this Museum. It was planned long in advance, and much 
of its material has remained in storage rooms for years awaiting 
appropriate exhibition space. The building which houses 
this Department is at present only partially completed and so 
we look to the coming years for a full realization of the scheme 


of arrangement. 


In the galleries and rooms works of decorative art are grouped 
according to their respective periods and national origins, and 
so far as possible in chronological order. Acknowledging certain 
limitations, the new building offers also the exhibition of objects 
in original rooms with the firm belief that where works of art, 
both major and minor, were made to be seen together in their 


own day, they are best seen together in our day. 


In this Department over fifty exhibitions are open to any 
interested person without fee and with few restrictions; and this 
rich gift is offered to the public by the Museum of Fine Arts, a 
private corporation, through the faith of its officers and tts 
friends,—a faith backed by quiet deeds of generosity. 


Epwin JAmeEs Hipkiss 
Curator. 


INTRODUC Hi 


a Be ESE galleries provide the Museum for the first time with 
the opportunity to exhibit works of decorative art in 
their proper relation and with adequate space and light. 

Looking back over past years, it is indeed a pleasure to recall 
how many people have co-operated in the construction of the 
building and the formation of the collections here exhibited. 
In January, 1924, the Trustees decided that gifts had so in- 
creased in number and importance that a new wing must be 
built. They appointed Dudley Leavitt Pickman, Chairman, 
Thomas Allen, Henry Forbes Bigelow, Morris Gray, and 
Edwin Farnham Greene a Committee to obtain funds. The 
members of the Committee themselves subscribed gener- 
ously, and the response to their request and example was 
immediate. Ninety-seven friends contributed the full amount 
necessary for construction. 

The building was designed by Guy Lowell in co-operation 
with the Director and a Building Committee of five, Morris 
Gray, Chairman, William Crowninshield Endicott, Henry 
Forbes Bigelow, J. Templeman Coolidge, and George 
Peabody Gardner. After Mr. Gray’s resignation, Henry Lee 
Shattuck was added to the Committee and the office of 
Chairman was held successively by Thomas Allen, George 
Peabody Gardner, and T. Jefferson Coolidge. 

The plan for installation was prepared by the Curator of 
the Department, and has been carried to completion under 
his direction with the constant working co-operation of the 
Installation Committee: Henry Forbes Bigelow, Chairman, 
William Truman Aldrich, J. Templeman Coolidge, William 
Crowninshield Endicott, Dudley Leavitt Pickman, and the 
Director. 


The generosity of donors and lenders has been very great. 
Seven entire rooms have been given—the Louis XVI and 
Hamilton Palace rooms by Mrs. Frederick T. Bradbury in 
memory of her brother, George Robert White; the Tudor 
room by Mrs. Edward F. Dwight in memory of her parents, 
George Parsons and Sarah Elizabeth Eddy Parsons; the Louis 
XV room by Guy Lowell; the room from Bath, Maine, by 
Dudley Leavitt Pickman; the room from Marblehead by Mrs. 
George H. Davenport; and the Chippendale room from Wood- 
cote Park by Eben Howard Gay. 

Members of the “Trestle Board” have given and lent many 
representative examples of early American furniture, silver, 
pewter, glass, and metalwork and have assisted greatly with 
advice. 

The Garden in the Court is the gift of Mrs. Frederick T. 
Bradbury, the Misses Hannah Marcy and Grace Edwards, 
and Mrs. W. Scott Fitz. It was designed by Arthur Shurtleff 
in consultation with a committee of three, William Truman 
Aldrich, Henry Forbes Bigelow, and the Director. 

To everyone who has contributed the Museum is deeply 
grateful. 

Epwarp Jackson HoLMEs 
Director. 


AS: 


EUROPEAN ARTS 
Main Floor Exhibition 1 


TAPESTRY GALLERY 


+] Fae spacious gallery, with its marble floors, walls of trav- 
ertine stone, and beamed ceiling, is no new feature at 
the Museum; nevertheless, it is an important unit in the ex- 
hibition scheme of the new department. 

Tue West WALL: Two very important Flemish tapestries of 
the fifteenth century, representing respectively “The Creed”’ 
and ‘““The Crossing of the Red Sea,” are owned by the Mu- 
seum. Here are also three tapestries of the sixteenth century, 
woven at Brussels, two of which are loans. The furniture is 
Italian of the sixteenth century; the fine bench is flanked by 
suits of armor; one, German of Maximilian type, made about 
1525; the other, Spanish of Gothic type, dating from the 
latter part of the fitteenth century. 

Tue East WALL: Three tapestries of the sixteenth century, 
attributed to Flemish weavers, represent seasons of the year, 
—Summer, Autumn, and Winter. Here also are tapestries of 
the seventeenth century from Brussels. The sacristy cup- 
board, of walnut, from Tuscany was made during the four- 
teenth century. On this cupboard is placed a bust of Christ in 
terra cotta with traces of decoration in polychrome. 

Tue Enp Watts: Flemish tapestries and Italian furniture, 
all of the sixteenth century, are exhibited at each end of the 
gallery. 


Dimensions: length, 99’ 0’; width, 33’ 4’; __ height, 32’ 0”. 


EUROPEAN ARTS 
Main Floor Exhibition 2—con. 


GoTHic GALLERY 


Tue East Watt: The central group contains sculpture in 
wood of the Franco-Flemish school of the thirteenth and fif- 
teenth centuries placed on a chest with a carved front in oak 
of the fifteenth century. Three small sculptured figures in ala- 
baster and one in limestone stand on architectural columns 
with capitals. Two fragments of tapestry of mi/lefleur design, 
date about 1500, hang on this wall. Placed on a Gothic chest 
in oak, is a small group of metalwork and illuminated leaves 
on vellum, about 1500. 

Tue SoutH Watt: On this wall is an altar-front from Angle- 
sola, Province of Lerida, Spain, dating from the latter half of 
the fourteenth century. Above is a fragment of French tapes- 
try woven between the years 1515 and 1518 showing scenes 
from “The History of the Sacrament.’ Other examples of 
French tapestries of the fourteenth and fifteenth centuries 
also hang on this wall; one of mé/lefleur design depicts a Turk 
and his family. The two capitals are of the twelfth and 
thirteenth centuries, and the French mantelpiece in limestone 
of the sixteenth century. A figure of “The Trinity” in ala- 
baster is an important example of English workmanship of 
the fifteenth century. 


Dimensions: length, 71’ 6”; width, 30’ 3”; _ height, 20’ 9. 


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PeROPERAN. ARTS 
Main Floor Exhibition 3 


STAINED GLass WINDOW FROM Hampton Court, 
HEREFORDSHIRE, ENGLAND 
Date, about 1435 


iS stained glass came from the private chapel of the 
ancient mansion house, Hampton Court, in Hereford- 
shire which, under the auspices of Henry VI, was completed 
in 1435 by Sir Roland Lenthall who had won riches and pris- 
oners through the victory of Agincourt. The glass was prob- 
ably made by John de la Chambre, Pére, (died 1437) who 
painted the great Saint Cuthbert Window at York Minster and 
much of the fine glass at All Saints’ Church, York. There were 
five lancets in the original window. 

Within a characteristic canopy-design of English painted 
glass of the fifteenth century, are shown the figures of eight 
apostles: Peter, Andrew, James the Greater, John, Bartholo- 
mew, Matthew, James the Lesser, and Simon; and above, St. 
John the Baptist, St. Francis, and a Pieta. 

The glass was removed from its original setting in 1924. 
The stonework was made from measured drawings of the 
original tracery with the necessary modification due to the 
loss of one lancet before 1728. The construction materials of 
this gallery are modern. 

The objects shown are works of the fifteenth and sixteenth 
centuries. A Spanish lectern in wrought iron stands beneath 
the window. An Italian tomb monument in marble, on the 
floor, bears the obituary inscription of Cicelle Pissicelle, 
Abbess of the Convent of St. Patricia at Naples, who died on 
February 4, 1438. On the side walls are tapestries of the early 
sixteenth century, beneath which are English church benches. 
An Italian choir stall of the sixteenth century, somewhat re- 
stored, is placed opposite the window for the use of visitors. 


Dimensions: length, 30’ 3’; width, 15’ 1”; height, 28’ 0”. 


The Marra ANTOINETTE Evans Funp, 1925. 


EUROPEAN ARTS 
Main Floor Exhibition 4 


ITALIAN GALLERY 


HE West Watt: On this wall are two panels of velvet in 

blue and gold of the fifteenth and sixteenth centuries, 
three paintings by Sano di Pietro, a Madonna and Child, and 
two Saints, and two examples of wrought iron of the sixteenth 
century,—a fireguard and a Venetian balcony grill of geo- 
metric pattern. An exhibition case contains fragments of 
Italian brocades of the fourteenth and fifteenth centuries. 

Tue SoutH Watt: A very important Italian tapestry of 
the late sixteenth century woven with silk, wool, and gold 
depicts “The Ascension;” small sculpture, paintings, chairs, 
and a sixteenth century cradle complete the exhibition on 
this wall. 

Tue East Waut: Fragments of fine velvets, two carved and 
painted chests, chairs, and paintings are arranged at either 
side of a large cabinet in walnut attributed to the fifteenth 
century from the Villa Pamphilia. 

Tue Norru Watt: A case exhibition of metal work and 
carvings in bone of ecclesiastical origin and chiefly Italian 
workmanship occupies the middle of this wall. Panels of 
velvet hang above small chairs. 


Dimensions: length, 37’ 3’; width, 25’ 6”; height, 14’ 2”. 


meek OPRAN ARTS 
Main Floor Exhibition 5 


ITALIAN GALLERY 


he SoutH Watt: On a pair of painted Florentine pedes- 
tals in wood stand wrought iron ornaments, and over the 
doorway is a bronze crucifix; all are attributed to the six- 
teenth century. In the large case is an exhibition of metalwork 
mostly ecclesiastical; these objects, though not all of Italian 
origin, reflect the influence of the Renaissance period. The 
siege shield above the case is Italian, date about 1580. On 
the left hangs a figure of the Madonna and Child in poly- 
chrome terra cotta attributed to Benedetto da Maiano. 

Tue East Watt: Three magnificent specimens of figured 
and embroidered velvet (see illustration on preceding page 
of text) hang on this wall above chests, chairs, and a credenza, 
all of the fifteenth and sixteenth centuries. The glazed terra- 
cotta jars with the Medici arms in bas-relief were brought 
from the Monastery of Santa Maria Novella at Florence. 

Tue Nortu Watt: A figure of the Madonna and Child in 
white glazed terra cotta attributed to the school of Della 
Robbia hangs at the right of an exhibition case which con- 
tains a collection of Italian pottery of the sixteenth and seven- 
teenth centuries.. The iron gates framing the doorway are 
Venetian in the style of the sixteenth century. Above the 
door hangs a walnut panel of the sixteenth century carved 
in bas-relief. 

Tue West Wa tt: Furniture and ironwork with two cases 
containing Italian glass are shown against this wall. 

On the floor of this gallery stands a fine walnut table of the 
earlier part of the sixteenth century. 


Dimensions: length, 51’ 3’; width, 25’ 6”; height, 14’ 2”. 


MmoOROPEAN ARTS 
Main Floor Exhibition 6 


SPANISH GALLERY 


| Bee SoutH Wa tt: A pair of panelled doors in painted 
pine, probably of sixteenth century workmanship, 
hang at each side of the doorway, with a crucifix in carved 
ivory above. An exhibition case contains plates in glazed 
pottery and a figure of Saint James cut from a block of jet. 
Two panels of brocatelle of the sixteenth and seventeenth 
centuries hang at each side of the case. 

Tue East Watt: A good example of Spanish cabinet work 
is seen in the varguefio, or writing cabinet, of walnut with 
enriched ornamentation in wrought iron and interior decora- 
tion in gilt and carved bone, made during the sixteenth cen- 
tury. A panel of brocaded velvet hangs over the vargueno. 
Here also are chairs, pottery, embossed leather, and cases 
containing silversmith’s work and ivory carving of the seven- 
teenth and eighteenth centuries. 

Tue Nortu Watt: The rug is an interesting, although 
much worn, example of the work of the sixteenth century. 
Beneath it are rare fragments of Spanish and Spanish-Arabic 
weaving. Furniture, both from Spain and Portugal, decorated 
leather, and a crucifix in ivory are the principal objects shown. 

Tue West Watt: Three cases contain objects in glass, 
glazed pottery, wrought silver and iron, and some fragments 
of woven materials chiefly of the fifteenth and sixteenth 
centuries. Two large panels of embroidered work of the 
eighteenth century hang on this wall. 


Dimensions: length, 38’ 11”; width, 25’ 6”; height, 14’ 2””. 


Peek.) PoE A Ne ARTS 
Main Floor Exhibition 7 


NETHERLANDS GALLERY 


ela chiefly from the Netherlands, of the sixteenth 
and seventeenth centuries, are shown in this gallery. 

Tue Soutu Watt: A panel of Flemish tapestry of the ver- 
dure pattern, dating about 1700, hangs, with fragments of 
borders of the late sixteenth century at each side, over a case 
containing wrought iron. 

Tue East Watt: The tapestry on this wall is from Brussels 
and was woven in the seventeenth century; it hangs over a 
Flemish chest in oak dated ‘1697,’ on which is a case con- 
taining Dutch silver of the seventeenth and eighteenth cen- 
turies. At the right is a cabinet of Dutch workmanship and 
design of the mid-seventeenth century. The cabinet on the 
left is French of the sixteenth century. 

Tue Norru Watt: Another tapestry of verdure pattern 
hangs on this wall, dating from the seventeenth century; be- 
neath is a case containing objects of wrought iron. Mounted 
ironwork from Belgium hangs over the doorway. 

Tue West Watt: A large case contains Delft pottery dec- 
orated in blue and also in polychrome. At the right is a large 
Dutch chest of the seventeenth century with inlaid armorial 
designs. At the left is a Spanish bench. 

Dutch, Portuguese, Spanish, and Italian furniture complete 
the exhibition. 


Dimensions: length, 25’ 6’; width, 25’ 6’; height, 14’ 2”. 


EUROPEAN ARTS 
Main Floor Exhibition 8 


SEVENTEENTH CENTURY ENGLISH GALLERY 


a ae Soutn Watt: A Brussels tapestry woven during the 
sixteenth century represents ‘“Titus Receiving the Keys 
of Jerusalem.” Beneath it is a Jacobean table in oak on 
which is a case containing chalices of silver made in London 
during the first half of the seventeenth century and presented 
to American churches, and a small prayerbook with an em- 
broidered cover, also of the seventeenth century. The richly 
decorated chalice is inscribed: ‘““The Gift of Governor Ino 
Winthrop to ye It Church in Boston.” Walnut chairs of the 
seventeenth century. 

Tue West Watt: An English chest of walnut with mar- 
quetry work in fruitwood stands at the right of another 
Brussels tapestry depicting ‘“The Conference,” a scene from 
the Punic Wars. A pair of walnut sidechairs, of the time of 
Charles II, and a pair of Italian candlestands in wrought- 
iron are shown against the tapestry. At the left is a chest of 
drawers in oak of the earlier half of the seventeenth century. 

Tue Nortu Watt: A carved cupboard of oak of the mid- 
seventeenth century stands beneath a painting depicting 
Charles IX and the King of Navarre hunting at Fontaine- 
bleau. On the cupboard is a crucifix carved in ivory and amber 
and, at each side, an English sidechair of the latter half of the 
seventeenth century. 

Tue East Watt: A tall clock with a marquetry case made 
by Hen: Killmister at London, a Jacobean table, and a brass- 
studded leather trunk made by John Selby, “Trunk-maker 
to George II at Windsor Castle and London,” are shown on 
this wall. In the case is an exhibition of stoneware and other 
small objects. In one window is a study series of fifteen panels 
of fragments of English stained glass exemplifying the Early 
English, Decorated, Perpendicular, and Renaissance Styles, 
and the Period of Enamel Colors. In the other window is a 
medallion of French stained glass of the fourteenth century 
depicting ““Woman led by Demons.” 


Dimensions: length, 29’ 10”; width, 25’ 6”; height, 14’ 2”. 


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rae OPEAN. ARTS 
Main Floor Exhibition 9 


Room From HamittTon PaLace, 
JLANARKSHIRE, SCOTLAND 
Date, about 1690 


ae third duke of Hamilton, in the year 1690, rebuilt the 
palace on the estate near Glasgow which had been the 
seat of the royal family of Hamilton since the fourteenth 
century. 

This room is the State Morning Room of that palace which 
was designed by a Scotch architect, James Smith, working in 
the manner of Sir Christopher Wren. 

The walls of the room are of oak and are complete as they 
were removed from the palace. The enriched panel over the 
fireplace, carved after the manner of Grinling Gibbons, is also 
of oak and displays the armorial bearings of the Hamilton 
family. The floor of oak is modern, laid in the method used at 
this period. The plaster ceiling is also modern and has been 
carefully adapted in scale and ornamentation from ceilings 
contemporary with the room. The hangings at the windows 
are of Genoese cut velvet of the seventeenth century and 
conform in design with the style of the period. The brass 
chandelier of the seventeenth century is similar in design to 
one that formerly hung in this room. 

The tapestry on the north wall depicting the Miracles of 
St. Claudius was woven in Flanders at the beginning of the 
sixteenth century and was originally in Knole House, the 
property of the Crown of England, until given in 1567 by 
Queen Elizabeth to the Sackville family. The Ispahan rug 
is of the early seventeenth century. English furniture of the 
seventeenth century and English portraits complete the 
furnishings of the room. 


Dimensions: length, 36’ 8’; width, 21’7”; height, 17’ 0”. 


The Room and its furnishings are the gift of Mrs. Freperick T. BRADBURY 
in memory of her brother, GeorcE R. WuiTE. 


- 


EUROPEAN ARTS 
Main Floor Exhibition 10 


Louis XVI SaLon From Parts, FRANCE 
Date, about 1760 


ate the beginning of this century, the boiserie was re- 
moved from a Parisian house, believed to have been 
owned by the Marquise de |’Hdpital, and was installed in the 
Salomon Mansion on Fifth Avenue in New York City. It was 
acquired for the Museum in 1924. 

The walls are panelled in oak with carved and gilded 
decoration. The fine hardware in cuivre doré is original. The 
pair of chandeliers, with pendants of rock crystal, amethyst, 
and topaz quartz, are of the eighteenth century, and some- 
what earlier than the room. The rich hangings of jardiniére 
velvet are of the eighteenth century arranged in a design 
appropriate to a room of this period. The Ispahan rug is of 
the late sixteenth or early seventeenth century. 

The four panels of tapestry are French of the eighteenth 
century made after designs by Christophe Huet (d. 1759). 
The portrait bust on the mantelpiece is of terra cotta and is 
the work of Augustin Pajou (1730-1809). The restorations in 
the.room consist of the plaster ceiling and its ornamented 
cove, the glass, the oak floor, and the glazed doors and 
transom at the end of the room. 

French furniture of the period has been placed in the room. 


Dimensions: length, 42’ 6’; width, 18’ 8”; height, 12’ 10’. 


The Room and its furnishings are the gift of Mrs. Freperick T. BRADBURY 
in memory of her brother, Gzorce R. Wuire. 


Peo PE AN ARTS 
Main Floor Exhibition 11 


EIGHTEENTH CENTURY FRENCH GALLERY 


Frencu bedstead from the Swan Collection is shown 
at the west end of this gallery. A label recently re- 
moved from the bedstead reads: 


Année 1787 GARDE-MEUBLE DU ROI 
Suivant CHATARD, Peintre & Doreur 
ordre Fauxbourg Montmartre 
du 17 A PARIS 
Juillet Pour M. Chierry 
no. 181 Chambre a coucher 

a Paris 


The couronne de lit of damask is contemporary, but was not 
originally with the bedstead. The firescreen with carved and 
gilded decoration, similar to that of the bedstead, and the 
andirons of cuivre doré were also among the furnishings 
brought to Boston by Colonel James Swan from France 
at the time of the Revolution. A Flemish tapestry of the 
eighteenth century and other furniture of the Louis XVI 
period are also shown in this gallery. | 
Other objects from the Swan Collection are shown in the 
adjoining gallery. 


Dimensions: length, 24’ 3’; width, 14’ 4”; height, 19’ 9”. 


EUROPEAN ARTS 
Main Floor Exhibition 12 


BoucHER GALLERY 


ce two fine paintings by Francois Boucher were painted 
in 1757 and represent, in a light and charming way, 
“TAller au Marché” and ‘“‘La Halte a4 la Fontaine.’”’ The 
carved and gilded frames are contemporary with the paint- 
ings. The eight carved and gilded panels of the mid-eighteenth 
century are from the Hétel de Montmorency. These superb 
pictures by Boucher and the fine panels were once in the 
Deacon House in Dorchester, Massachusetts. Four of the 
panels are lent by the Boston Athenaeum, and four are owned 
by the Museum. 

Furniture of the eighteenth century is exhibited in this 
gallery and also excellent metalwork in cuivre doré and silver. 
The urn of Sévres porcelain, in royal blue, mounted in cuivre 
doré, is to be especially noted. The two-handled cup in 
wrought silver made in Paris during the year 1787 by J CM, 
an unidentified silversmith, and the two carved and gilded 
side chairs, were brought to Boston by Colonel James Swan 
at the time of the French Revolution. The small side chairs 
with lyre-shaped backs are of the Directoire period. The 
painted armchair with blue damask covering is signed by 
Jacob, the Parisian ébéniste of the eighteenth century. 


Dimensions: length, 28’ 8’; width, 14’ 4”; height, 19’ 9”. 


EUROPEAN ARTS 
Mazin Floor Exhibition 13 


EIGHTEENTH CENTURY ITALIAN GALLERY 


(aa two large paintings by Panninni well represent the 
skill of this painter in depicting multitudinous detail and 
complex drawing in perspective. One shows a picture gallery, 
probably imaginative, and the other the interior of the Church 
of St. Peter at Rome. 

The painted and gilded furniture, chairs, settees, tables, and 
looking-glasses, are representative examples from Italy of the 
eighteenth century. The mantelpiece of white marble deli- 
cately carved is also of this period. On the jambs of the door- 
‘way are a pair of carved and gilded looking-glasses of the 
mid-eighteenth century. 


Dimensions: length, 22’ 5”; width, 14’ 4”; height, 19’ 9”. 


EUROPEAN ARTS 
Main Floor Exhibition 14 


Main STAIR-HALL 


qe= Flemish tapestry of the seventeenth century is of an 
unusual design of crossed clubs with fleur-de-lis and 
crowns. The interrupted pattern and absence of a lower 
border show it to be but a part of the original tapestry. The 
shield at the left bears the fleur-de-lis of France, that on the 
right the orle borne on the shields of the Kings of Navarre. 

Beneath this tapestry is a French provincial chest of oak 
of the eighteenth century and a pair of French chairs in 
walnut with needlepoint coverings of the seventeenth century. 
A daybed in walnut covered with crimson and gold velvet is 
French of the Louis XIII period. A panel of Italian red velvet 
of the sixteenth century is also shown in this gallery. 

A fragment of tapestry hangs over the doorway. The 
painted door at each side of the doorway is of the same 
period as the objects in the adjoining gallery, Italian of the 
eighteenth century. 3 

A Brussels tapestry of the sixteenth century, hung on the 
stairway, depicts a scene from the life of Scipio. 


Dimensions: length, 25’ 3”; width, 14’ 4”; height, 19’ 9”. 


rake OPEAN ARTS 
Main Floor Exhibition 15 


Tupor Room FROM SOMERSETSHIRE, ENGLAND 
Date, about 1490 


PANELS FROM TARPORLEY, CHESHIRE 
Date, about 1493 


Bats rare example of woodwork of the Tudor period is in 
the main original work of the late fifteenth century. In- 
asmuch as the furniture of this early period is almost non- 
existent, it will be easily understood that the woodwork of 
this room, when first assembled, lacked some of the features 
which it now possesses. Every care, however, has been exer- 
cised to have the added parts of contemporary material. In 
1911, the woodwork had already been dismantled, for it had 
been brought from a village near the Devonshire border to 
Bath and purchased by a local collector who recognized it as 
ancient material. Unfortunately a record of the building of 
which it had been a part has been lost: The Guild Hall at 
Levenham, in Suffolk, has construction details similar to this 
Tudor woodwork and suggests the possible appearance of 
the building of which this was once a part. (See “The Do- 
mestic Architecture of England during the Tudor Period” by 
Garner & Stratton, Plate LIX.) 


muk)PEAN-ARTS 
Main Floor Exhibition 15—con. 


Tupor Room From SoMERSETSHIRE, ENGLAND 
Date, about 1490 


Among the added parts are the glazed windows and the 
carved panels over the fireplace. The panels are from a 
fifteenth century house formerly standing in Tarporley, 
Cheshire, and have been recognized by the Reverend W. F. 
Timbrell, M.A., of Chester as those which interested the 
Historical Society of Lancashire and Cheshire during the mid- 
eighteenth century. The central panel bears the inscription 
“W W D Decretorum,” which has been interpreted to read 
“William Witter Doctor of Degrees.” The Reverend William 
Witter (or Wittar) was Rector of Tarporley from 1493 to 
1543 (see illustration on preceding page of text). 

In the room is a Tudor chest of cypress and hickory with 
carved and inlaid design, a piece somewhat later in date than 
the room. The table and armchair are of the early seventeenth 
century. Arms and armor, mostly German, and other objects 
in metalwork complete the furnishings. 


Dimensions: length, 18’. 5’; width, 16’7”; height, 10’ 6”. 


The Gift of Mrs. Epwarp Foote Dwicut in memory of her parents, 
GeEorGE Parsons and SARAH ELIZABETH Eppy PARSONS. 


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paver RECAN ARTES 
Ground Floor Exhibition 16 


TEXTILE CORRIDOR 


HIS corridor contains an exhibition of Peruvian textiles 
and of European laces. 

From the Crypt, located south of the Lecture Hall, visitors 
pass through the Textile Corridor leading to the Ship Model 
Gallery (17) and other exhibitions on the Ground Floor. 

Through this corridor one also reaches the stairway leading 
to the Textile Study and the Office of the Keeper of Textiles 
in the Department. These are on the Court Floor of the new 


building. 


Dimensions: length, 134’ 1114”; width, 12’ 634”; height, 13’ 314”. 


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pO PEAN “ARTS 
Ground Floor Exhibition 17 


Sutp MopEL GALLERY 


U is a new venture for American Museums of Fine Arts 
to include models of ships in their list of treasures—thus 
following very late, indeed, the example of important Euro- 
pean Museums; but it seems especially fitting that our coast- 
lined States should store memories, fast fading, of the 
splendid sailing vessels which brought them renown and 
riches; and that an era of courage and romance should be 
kept alive in the models and pictures of those ships. 

The association of early British and French vessels was no 
far cry to the American Colonial, and even touched him 
closely for better or worse; and so their presence here, aside 
from their peculiar worth, possesses a certain historical 
fitness. 

The sturdy beauty and perfection of workmanship of 
these foreign models—which frequently belonged to the 
reigning sovereign—need not detract from the limited number 
produced in America when it is recalled that the European 
Admiralties and Dock Yards produced models as early as the 
mid-sixteen hundreds, and employed men whose sole occupa- 
tion was the making of them; while there were no such 
artisans on our side of the ocean, and little time or money to 
spend upon them. 

These models were prototypes of the vessels which took 
their actual shape from them—being built from the model, 
and not vice versa. Several specimens here show open sec- 
tions in order that measurements might be made and en- 
larged to scale in the actual construction of the ship itself. 
Such a process, although giving the rugged character of the 
craft, was far from being accurate, and it was left for a small 
shipbuilder of Newburyport, Massachusetts, in 1774 to 
revolutionize the art of shipbuilding by sawing his model 
into horizontal templates and taking off a linear tracing of 
each one. 


EUROPEAN ARTS 
Ground Floor Exhibition [7—con. 


SHip MopEL GALLERY 


During the periods of richly decorated ships of war the 
carving was of a high order, frequently by the hand of a 
distinguished sculptor, who executed upon the model the 
figures and ornaments to be enlarged to actual size. 

It is therefore quite possible, in contemplating these old 
models, to find oneself in the presence of the ship itself. 


(Bake) 
Dimensions: length, 38’ 2’; width, 29’ 9”; height, 13’ 7”. 


From the Collections of J. TEMpLEMAN CooLipcE and others. 


Pewiebek TCA NA RES 
Ground Floor Exhibition 18 


AMERICAN FURNITURE GALLERY 


ee furniture of oak, pine, maple, and walnut is 
exhibited in this narrow gallery, with an occasional piece 
from England such as was used contemporaneously. All of 
the pieces are of the latter part of the seventeenth or earlier 
half of the eighteenth centuries, and most have been lent by 
friends of the Museum for the opening exhibitions of the new 


building. 


Dimensions: length, 46’ 11; width, 10’ 3; height, 13’ 7”. 


AMERICAN ARTS 
Ground Floor Exhibition 19 


SpECIAL EXHIBITION GALLERY 


| Bau gallery will be used for the temporary exhibition of 
special collections, to be changed at frequent intervals. 

For this Opening Exhibition, there are cases of pottery, 
porcelain, and glass of the eighteenth century. Two cases 
contain Wedgwood pottery, one of Jasper ware in a variety 
of colors, the other of Basalt ware. An interesting group of 
eighteenth century porcelain figures contains unusual Chelsea, 
Bow, Derby, and Crown Derby pieces. One case contains 
English and Irish glass. In the four cases against the windows 
are examples of eighteenth century American glass. 


Dimensions: length, 46’ 11”; width, 19’ 2”; height, 13’ 7”. 


LecrurE HALL CorRIDORS 


I the corridors surrounding the Lecture Hall is a study 
collection of European and American pottery and porce- 
lain. 

Beginning at the left of the Lecture Hall entrance, the 
groups are arranged alphabetically according to their national 
origins. The ceramic arts of England, for example, are again 
subdivided and the visitor first sees examples of Adams, Bow, 
Chelsea, and other English porcelains. 


AMERICAN ARTS 
Ground Floor Exhibition 20 


SouTH STAIR-HALL 


Cs furniture of the seventeenth and eighteenth centu- 
ries, also lent for the Opening Exhibition, is mostly of 
American workmanship. One chest of English oak is espe- 
cially interesting inasmuch as it bears a plate, affixed in 1830, 
upon which is recorded the succession of owners, the first of 
whom was Governor Winslow of Plymouth Colony. 

On the west hall hangs a set of American bed-hangings of 
“crewel-work”’ of the early eighteenth century. 

In the stairway hang an Aubusson tapestry of the eight- 
eenth century and a Flemish tapestry of the seventeenth 
century. 


Dimensions: length, 30’ 3’; width, 25’ 3’; height, 13’ 10”. 


EUROPEAN ARTS 
Ground Floor Exhibition 21 


SALON FROM THE CHATEAU DE LA MUETTE, 
Passy, Paris, FRANCE 
Date, about 1740 


a Chateau de la Muette was originally a hunting lodge, 
where Charles IX frequently visited. In the sixteenth 
century it was transformed into a chateau by the architect 
Philibert Delormes, and in 1615 was given by Marguerite, 
the first wife of Henry IV, to the young king, Louis XIII. 
In 1716 it was reconstructed under the direction of the Regent 
for his daughter, La Duchesse de Berri, and after her death 
in 1720 enlarged and the beautiful gardens added, at the 
expense of the Bois de Boulogne. It was occupied by Louis XV 
during his minority, restored in 1741 and given to Madame de 
Pompadour, and after her death, in 1764, again reconstructed. 
Marie Antoinette was received at the Chateau on her arrival 
in France, spent the eve of her wedding day there, and with 
Louis XVI spent several months there after his accession to 
the throne. In 1818 it was purchased from the Government 
by Sebastien Erard, from whose heirs it was acquired in 1920. 

The walls of this salon are paneled in unpainted oak with 
carved enrichment in the Regence style. No restoration of the 
woodwork was necessary except the windows and their em- 
brasures. The marble mantelpiece and firebacks of cast iron 
are contemporary with the woodwork, but were not originally 
in this room. The modern espagnolettes were made in Paris 
for this room, copies of authentic models. The floor and ceiling 
are modern and follow in design the style of the period. 

The chandelier of cuivre doré and rock crystal 1s contem- 
porary, though somewhat restored. Two of the portraits are in 
oil, one by Van Loo, the other attributed to the school of 
Nattier, the third is in pastel. The fine chaise longue of beech- 
wood, covered with yellow damask, the round-about chair 
with caned seat and back, the upholstered armchair, and the 
Oriental carpet are especially appropriate furnishings. 


Dimensions: length, 22’ 0’; width, 20’ 6”; height, 103"; 


The CHarLes Amos Cummincs Bequest Funp, 1924. 


mUROPEAN ARTS 
Ground Floor Exhibition 22 


CHAMBER FROM THE CHATEAU DE LA MUETTE, 
Passy, Paris, FRANCE 
Date, about 1740 


qe walls of this room are paneled in unpainted oak with 
carved ornament similar to that in the adjoining parlor. 
Only the paneling of this room was available; the marble 
mantelpiece and its ornamented lining of cast iron, although 
replacements, are of the period. The windows, their embra- 
sures, and hardware are modern. The modern floor, laid in 
herring-bone pattern characteristic of the period, is of oak. 
The hangings of yellow damask in the windows and bed 
alcove are French of the mid-eighteenth century, and have 
been hung in the manner of the time. 

The chairs of beechwood and walnut are of the period of 
Louis XV and are covered with old brocades. The small com- 
mode is of rosewood, with marquetry, and ormolu mounts. 
The group of figures on the mantelpiece, representing children 
gathering birds’ eggs, is glazed white Sévres. The silver candle- 
sticks are Italian of the eighteenth century, made in the 
French style. The carpets in the room are from the Orient; 
two are Turkish, of Ghiordes and of Ladik type, of the seven- 
teenth century; the third is Persian, of the Joshigan type, also 
of the seventeenth century. 


Dimensions: length, 20’ 6”; width, 18’ 4’; height, 10’ 6”. 


The Cuartes Amos Cummincs Bequest Funp, 1924. 


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EFUROPEAN ARTS 
Ground Floor Exhibition 23 


PaIntED Room From Paris, FRANCE 
Epoque Louis XV 


HE painted woodwork of this room comes from an un- 

known house in Paris. Its painted panels well represent 
the decorative schemes, charming in conception, color, and 
brushwork, of the mid-eighteenth century in France. 

The room was probably designed as a retiring room or small 
study. The pair of chairs of the period of Louis XV are of 
painted beechwood. Old books in calf bindings have been 
placed on the shelves. The carpet is from Turkey, of the 
Damascus type made in the sixteenth century. The windows 
and their hardware are modern, as are the mirrors in the room. 

In the adjoining gallery are shown examples of eighteenth 
century furniture, a case of French pottery and porcelain, and 
two cases containing watches, fans, snuff boxes, and other 
small objects. 


Dimensions: length, 23’ 4’’; width, 8’ 6”; height, 9’ 6”. 


The Gift of Guy LowELL. 


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EUROPEAN ARTS 
Ground Floor Exhibition 24 


ADAM GALLERY 


Lo Sea ie detail and furniture of the late eighteenth 
century designed in the manner of Robert Adam and his 
brothers are shown here as a group. 

The doorway frame has dull gilt and grained surfaces. The 
doors are painted in two tones of light blue with gilt panel 
mouldings and canvas insets, painted in the manner of 
Angelica Kauffmann, Pergolesi, and others of this period. The 
door was originally in the residence at 70 Russell Square, 
London, for many years the home of Lord Loughborough 
(1733-1808), first Earl of Roslyn, who was Lord Chancellor 
during his lifetime. 

The mantelpiece is of white statuary marble with insets of 
yellow Siena marble. The hob-grate, fire tools, and fender are 
of the same period as the mantelpiece. 

The furniture in painted satinwood includes a caned-back 
settee and pair of armchairs, a cabinet, a bow-front commode, 
a work table, a pair of firescreens, and a harp with music 
stand and seat. 


Dimensions: length, 25’ 6”; width, 13’ 6’; height, 13’ 2”. 


The Gift of Mrs. Horatio A. Lams in memory of Mrs. WINTHROP SARGENT. 


BPUROPEAN ARTS 
Ground Floor Exhibition 25 


CHIPPENDALE Room rrom Woopcote Park, 
Epsom, SURREY, ENGLAND 
Date, about 1750 


Te room with its carved and painted paneling, enriched 
ceiling, decorative canvases, and fine furniture presents 
an ensemble of decorative art of a high order, made by or 
under the influence of the master craftsman and designer, 
Thomas Chippendale. The four walls of carved and paneled 
deal, or fir wood, are from the drawing room of Woodcote 
Park, at Epsom, Surrey. The overdoor and ceiling paintings, 
the latter attributed to Antoine Coypel, are seen as they were 
originally placed in the room. The ceiling of plaster is a dupli- 
cate of the original which remains at Woodcote Park. The 
carved fireplace in white statuary and yellow Siena marble 
contains amid its enrichment a representation of the dog and 
his reflection in Aesop’s fable. 

Over the fireplace is a portrait of Charles Parkhurst, 
Secretary to the Lord Lieutenant of Ireland, painted by 
George Romney. The set of four side chairs and two arm- 
chairs have the rich carving and “ribbon backs” illustrated 
in Chippendale’s book of designs. The cabinet, desk-bookcase, 
table, clock, and gilded looking-glass show Chinese motives 
so popular throughout the eighteenth century and referred 
to by Chippendale as being “in the Chinese taste.” The four 
wall sconces are of carved mahogany. Two vases of Chinese 
porcelain are also exhibited as appropriate to the room. The 
crimson hangings at the windows are of Italian damask of 
the seventeenth century. 


Dimensions: length, 23’ 114”; width, 20’ 4”; height, 12’ 2”. 


The Room and its furnishings are the Gift of EBEn Howarp Gay. 


BPUROPEAN ARTS 
Ground Floor Exhibition 26 


EIGHTEENTH CENTURY ENGLISH GALLERY 


eo arts of the eighteenth century are shown in this 
gallery. On the south and east walls are cases con- 
taining a varied assortment of silver. The marquetry cabinet 
has on its shelves fine specimens of Worcester, Crown Derby, 
Bow, and Bristol porcelains. The plates and two covered 
jars with painted floral decoration bordered with gilt on a 
field of “scale blue” are Worcester of the period of Dr. Wall’s 
control. Furniture and other objects complete the exhibitions, 
which consist largely of loans to the Museum. 

In the small lobby leading to the McIntire Rooms is a 
Dutch cabinet of the mid-eighteenth century containing a 
miscellany of small objects, which are for the most part of 
Dutch silver. 


Dimensions: length, 34’ 2’; width, 25’ 6”; height, 13’ 2”. 


Pevai kt! CAN ARTS 
Ground Floor Exhibition 27 


First McIntirE Room 
From PEAsBopy, Essex County, MAssacHUSsETTS 


URING the years 1800 and 1801 a house, designed by 
Samuel McIntire of Salem, was built for Captain 
Nathaniel and Madam Elizabeth (Derby) West at their 
country place in South Danvers, now Peabody. The Reverend 
William Bentley of Salem called on the Wests in October, 
1801, and noted his impressions in his diary. “Through the 
great pasture we passed to the house erected by Mr. West, & 
executed in the taste & under the direction of his wife, the 
eldest daughter of the late E(lias) H(askett) Derby. Its front 
eastward commands a most extensive prospect. The house in 
front is of two stories with four equal rooms. The apartments 
are finished in as good order as any I have ever seen. The 
furniture was rich but never violated the chastity of correct 
taste. The pictures were excellent. The paper & linen hangings 
were superb. The movable furniture, rich, uniform, but 
simple.” 

In this room, the dining room, the woodwork is complete 
and original, with the exception of the glazed window sashes 
which were designed and made at the Museum after careful 
study. It was necessary to omit the sash of one window for 
passage through the room. 

The panel, “Saturday Evening,” over the fireplace is a copy 
by Corné, an artist brought to Salem from Naples in one of 
Elias Haskett Derby’s ships, of the painting by William Red- 
more Bigg exhibited at the Royal Academy, London, in 1792. 
This panel and its companion piece, “Sunday Morning,” in 
the parlor are in their original setting. 

The color of the woodwork is the original, uncovered when 
successive layers of paint were removed; a small area of this 
tone, as it was found, is preserved in the room. 


Dimensions: length, 20’ 4"; width, 200”; height, 10’ 10”. 


The Cuartes Amos Cummincs Bequest Funp and an Anonymous GIFT, 
1997. 


Pevir RE CAN: -A RTS 
Ground Floor Exhibition 28 


Seconp McIntTrIrE Room 
From Peasopy, Essex County, MASsAcHUSETTS 


HE parlor from the house at Peabody stands in the 

Museum as it was built. Only three replacements were 
necessary: the floor of painted pine, which is of eighteenth 
century floor boards, the window sash, and the doorway on 
the north wall, which is a copyof the original on the adjoining 
wall. The mantelpiece in every detail is as it was removed 
from the house, including the lining of soapstone. 

The painting over the mantelpiece, “Sunday Morning,” is 
the work of Corné painted from a subject by W. R. Bigg. 
The ornamental features, modeled in low relief, of the door- 
way and mantelpiece of this and the other two rooms are of 
French putty applied to the wood, a characteristic method of 
the time. 

By rare good fortune some of the furnishings placed in this 
house when it was completed in 1801, probably in this room, 
have come back to their original setting. These are the shield- 
back Hepplewhite chairs, the pair of Sheraton armchairs, the 
pair of card tables, the sofa, the firescreen, and a pair of win- 
dow cornices, all of American workmanship. The secretary of 
mahogany was probably made in Salem; it was used there and 
its pigeonholes are labeled with the names of Salem ships. The 
hangings of damask and the coverings on the furniture are of 
the period or earlier than that of the room itself. The Turkey 
carpet of Ushak type is typical of the carpets imported by 
the merchants of the day. The chandelier with pendants of 
cut glass is of the late eighteenth century. 


Dimensions: length, 25’ 10’; width, 20’ 0”; height, 10’ 10’. 


The Cuartes Amos Cummincs Bequest Funp and an Anonymous Girt, 
1922. 


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AMERICAN ARTS 
Ground Floor Exhibition 29 


Tuirp McIntire Room 
From Peasopy, Essex County, MASSACHUSETTS 


be (Bie woodwork of this room, the parlor chamber, is com- 
plete except for the replacement of the plain panel over 
the fireplace and the window sashes. One of the four windows 
has been omitted, as in each of the other rooms. The floor 
boards were taken from eighteenth century houses. The dado 
panel in this room, as in the other two rooms, is of one width 
of white pine. The marble hearth and facing and the soap- 
stone lining are original parts of the fireplace. 

The Hepplewhite chairs with elliptical backs, the four-post 
bed, and the English bow-front commode with its dressing- 
glass, were originally owned by the Derby family of Peabody. 

The window and bed hangings are of old Toile de Jouy. 
The candlesticks on the mantelpiece are of gilded brass and 
Wedgwood Jasper ware, supporting pendants of cut glass. 
The carpets are Persian, made about 1800, one of Seraband 
type, the other Feraghan. 


Dimensions: length, 25’ 8’; width, 20’0”; height, 10’ 3”. 


The Cartes Amos Cummincs Bequest Funp and an Anonymous GIFT, 
1922, 


Mie RT CAN ARTS 
Ground Floor Exhibition 30 


Lucy DErRBy FULLER COLLECTION 


6 | aes SoutH WALL: On the American sideboard of mahog- 
any and satinwood, somewhat in the style of Hepple- 
white, stands a pair of satinwood knife boxes formerly owned 
by Elias Haskett Derby of Salem, for whom the gilt clock 
was made by Simon Willard. The fine Hepplewhite chairs in 
mahogany stand beneath French engravings of the eighteenth 
century of paintings by H. Fragonard and Mlle. Gerard. At 
the left of the doorway is an armchair believed to have been 
made by Duncan Phyfe of New York. On the wall above is 
an eighteenth century engraving of the Marquise de la 
Fayette, a companion piece to the one of George Washington 
on the opposite wall. 

Against the other walls are chests of drawers in mahogany 
and maple, four looking-glasses, Hepplewhite chairs, chairs 
by Duncan Phyfe, a Chippendale chair made in Philadelphia, 
a card table, and a corner stand, all of the eighteenth or early 
nineteenth century. The wall case contains Oriental Lowe- 
stoft plates, some of which bear the monogram of Elias 


Haskett Derby, and English glassware. 
The Gift of S. RicHarp FuLier in memory of his wife, Lucy DERBy FULLER. 


The McIntire doorway formerly stood in the entrance hall 
of the house in Peabody built for Captain Nathaniel and 
Elizabeth Derby West. The paneled door is a modern re- 


placement. 
Dimensions: length, 24’ 11”; width, 17’ 2”; height, 14’ 0”. 


The Cuartes Amos Cummincs Bequest Funp and an Anonymous Girt, 
1922. 


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AMERICAN ARTS 
Ground Floor Exhibition 31 


SILVER GALLERY 


a West Watt: Objects in wrought silver, mostly of 
domestic origin, made by John Coney of Boston (1655— 
1722) are shown in Case 311. An unusual piece is the sweet- 
meat box in repoussé work. The objects in Case 312 are 
chiefly for ecclesiastical use and were made by Jeremiah Dum- 
mer (1645-1718) and other early American silversmiths. 

Tue Nortu Watt: The chest of drawers of mahogany, on 
which is a case containing silver, was once in the Derby 
house. The case between the windows contains silver made 
by the patriot, Paul Revere (1735-1818); in this case is the 
urn made “To PERPETUATE the Gallant defence Made by 
Capt. Gamaliel Bradford in the Ship Industry on the 8th 
July 1800...” A dressing table of mahogany supports a 
case containing a triple urn in Sheffield plate. 

Tue East Watt: Case 314 contains silver made by Edward 
Winslow (1699-1753). A sweetmeat box by Edward Winslow 
offers an interesting comparison with the one made by John 
Coney. Over the doorway is a large convex looking-glass with 
a heavy gilded frame. In Case 315 ecclesiastical silver, most 
of which was made by John Hull (1624-1683) and Robert 
Sanderson (1608-1693) individually or during the period of 
their partnership, is shown with a few domestic pieces made 
by other seventeenth and early eighteenth century silver- 
smiths. 

Tue Sovrn Watt: A secretary of Hepplewhite style 
stands between two sideboards of mahogany over which hang 
paintings by Henry Sargent, showing “The Tea Party” and 
“The Dinner Party,” probably painted in old houses on 
Beacon Hill. On one sideboard is a silver tea service made by 
Paul Revere and inscribed ‘“To Edmund Hartt Constructor 
of the Frigate BOSTON. Presented by a number of his fellow 
citizens, as a memorial of their sense of his ability, Zeal & 
Fidelity in the completion of that Ornament of the AMERI- 
CAN NAVY 1799.” 


Dimensions: length, 28’ 9’; width, 17’ 2”; height, 14’ 0”. 


pavirren | CAN “ARTS 
Ground Floor Exhibition 32 


SILVER GALLERY 


HE West WALL: Objects in wrought silver made by Paul 

Revere and other American silversmiths are shown in 
the two cases on this wall, over which hang portraits by John 
Singleton Copley and Gilbert Stuart. 

Tue Nortu WALL: Two tables of early nineteenth century 
workmanship in the style of Duncan Phyfe stand under the 
windows. The large case contains a loan collection of silver 
made by Paul Revere. Over this case is a girandole mirror in 
gilt. 

Tue East Watt: In Case 324 is silver made in Boston 
during the early part of the eighteenth century. Silver made 
by Jacob Hurd (1702-1758) is shown in Case 325. Portraits 
by John Singleton Copley hang over these cases. 

Tue SoutH Watt: On the mahogany sideboard, date about 
1780, stands a silver urn of early nineteenth century Dutch 
workmanship. This was presented to Charles Bulfinch, the © 
eminent Boston architect, by the Catholics of Boston on Jan- 
uary 1, 1806, in recognition of the services rendered by him 
in drawing the plans for the first Roman Catholic Church 
built in Massachusetts. A portrait by John Singleton Copley 
hangs over the sideboard. 


Dimensions: length, 22’ 6; width, 17’2”; height, 14’ 0”. 


APM ERI CAN..ARTS 
Ground Floor Exhibition 33 


AMERICAN GALLERY 


HE doorway exhibited on the south wall is from a house 
built at Hatfield, Massachusetts, for Lieutenant Elihu 
White, probably in the year 1762; 1t was later known as ““The 
Eben White Tavern.” Opposite is a doorway (see illustration) 
from a house in Longmeadow, Massachusetts, built in 1754 by 
John Steel for Samuel Colton. At some time before 1921 an 
ornamental rosette and pendant were removed from the pedi- 
ment of the doorway and were thought to have been lost. In 
1928, due to the generosity of the Connecticut Valley Histori- 
cal Society, the missing ornament was returned to the door- 
way; a second one has been made and the lower panel of the 
right door has been restored. Two other architectural details 
are exhibited in this stair-hall: an Ionic capital with part of its 
fluted column, designed by Charles Bulfinch for Faneuil Hall 
but removed when the building was made fireproof; and a 
Corinthian capital from a house on Beacon Hill, also believed | 
to have been the work of Charles Bulfinch. 

A collection of silver made by Paul Revere with two 
beakers by Benjamin Burt was given to the Museum by Henry 
Davis Sleeper in memory of his mother, Maria Westcote 
Sleeper. Loan collections of Oriental Lowestoft and three- 
mould American glass are shown in this gallery. Two frag- 
ments of Toile de Jouy are hung above the cases. A painting 
by John Smibert hangs over the piano made by Benjamin 
Crehore of Milton. 


Dimensions: length, 25’ 3’; width, 17’ 2’; height, 14’ 0”. 


Note: Rooms 34 to 38 inclusive are occupied by the Offices of the 
Department and by the Textile Study. 


Pewee RICAN ARTS 
Court Floor Exhibition 39 


FRAME FROM IpswicH, 
Essex County, MAssAcHUSETTS 
Date, about 1675 


ae seventeenth century frame of oak and larch formed 
the entire second floor of a house which formerly stood 
at the corner of High and Manning Streets in Ipswich. 
Although its subdivisions into chambers, stair-hall, and chim- 
ney space can be closely determined, it has been thought best 
to use the entire space as a gallery for objects of the seven- 
teenth century. The second floor of the house has been used 
because the first floor frame had been mutilated and dam- 
aged by fire. 

The timbers were carefully removed from the original site 
under Museum supervision and have been re-assembled in 
the same order. A part of the framing and boarding of the 
third bay fills a space in which stood the original chimney 
stack. This frame is the longest of its kind known; the girt 
on the east wall is in one piece, forty-nine feet and three 
inches long. 

The windows are, of course, modern but follow closely in 
detail the construction of authentic examples. The floor is 
made of old unpainted pine boards removed from early 
houses. 

The furniture and other objects shown in this gallery have 
been lent through the kindness of a group of collectors known 
as ‘“The Trestle Board.” 


Dimensions: length, 48’ 8”; width, 19’ 9’; height, 8’ 4’. 


The Joun LowEtt Garpner Funp, 1925. 


AMERICAN ARTS 
Court Floor Exhibition 40 


Room rrom West BoxFrorp, 
Essex County, MaAssacHuseEtTTs 
Date, about 1675-1704 


ae room from West Boxford, typical of the third quar- 
ter of the seventeenth century in New England, comes 
from a house known in recent years as the Brown-Pearl House. 
The framing timbers and the fireplace lintel are of red oak. 
The floor and ceiling boards of pine and the bricks belong to 
the original room. The bevel-edged sheathing of white pine 
on the fireplace side of the room, removed from other con- 
temporary houses in Essex County, has the same detail as one 
original board found in the room when the early woodwork 
was uncovered under Museum supervision. Inasmuch as the 
lines of the original fireplace had been obscured by later 
masonry work, the form of a well-authenticated fireplace of 
the period has been adopted,—that from the house built by 
Abraham Browne, Jr., in 1663 at Watertown, Massachusetts. 
The casement window has been made after an original frame 
at the Browne House. The plasterwork simulates the white- 
washed walls of our oldest houses. 

The objects in the room are placed with an attempt to 
display the better furnishings of the period in a house occupied 
by a well-to-do family. Among the furnishings of the hall, 
as the living-room was called, in Captain John Corwin’s 
house at Salem as inventoried in 1684-5, were: 


1 Looking Glase 1 screne with 5 leaves & covering 
3 tables 1 old small Turky worke carpet 

1 Turky worke carpet 1 armed chair 

8 leather chairs 1 great candlestick 

5 stra bottomed chairs 1 pr. Great Dogs & 1 iron back 

1 clocke 1 window curtaine & rod 


1 pr. Tongs, Shovle fire & small Tongs & Toster 
Dimensions: length, 19’ 6”; width, 19’ 3; height, 7’ 10”. 


The Jonn Lowett Garpner Funp, 1925. 


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AMERICAN ARTS 
Court Floor Exhibition 41 


Pine PANELING FROM EssEx County Houses 
Date, about 1700 


re this alcove the old sheathing of white pine, with its 
moulded and beveled edges, came from several early 
houses of Essex County, Massachusetts. It has been installed 
with the characteristic use of boxed posts and girts, and 
although it is a carefully studied use of original material, it 
is not to be viewed as a particular room from a known house. 

The furniture is of American workmanship of the early 
eighteenth century. A “tuck-away”’ table in walnut and pine 
stands beneath the window, the hangings of which are Indian 
printed cotton of the period. The corner cupboard of pine 
contains English and American pewter. A painting of the 
armorial bearings of the Greene family, in its original frame 
of the eighteenth century, hangs over the oak desk on which 
is a “puzzle pitcher” of Delft ware. On the tavern table is a 
Delft dish on hand-woven linen. The brass clock was made | 
in London by Thomas Tompion (1638-1713). The map, en- 
graved in Holland, shows a conception of New England’s 
seacoast in the beginning of the eighteenth century. Although 
probably contrary to the practice of this period, it has been 
necessary to show the map under glass and in a modern frame 
at the Museum. Chairs and stools of maple and oak complete 
the furnishings. 


Dimensions: length, 13’ 7’; width, 12’ 10’; height, 7’ 4”. 


AMERICAN ARTS 
Court Floor Exhibition 42 


Prine Room rrom West Boxrorp, 
Essex County, MASssAcHUSETTS 
Date, about 1725 


jee addition of the Brown-Pearl House at West 
Boxford, probably built about 1725, contained the fire- 
place paneling, the doorway, and girt casings in this alcove. 
The woodwork of white pine, never painted, has acquired the 
soft brown tone which only time can bring. The bolection 
mouldings and the cupboard with an arched opening are 
characteristic of interior woodwork made in New England 
during the first quarter of the eighteenth century. The bricks 
and hearth tiles were brought from the house. No windows 
of this period remained in the house. 

The furniture is American made during the earlier part of 
the eighteenth century. Two pieces of Delft ware are shown 
in the room: An iron candlestand, lent for the Opening 


Exhibition, is signed by B. Gerrish with the date 1736. 
Dimensions: length, 13’ 5”; width, 13’ 3”; height, 7! 4’. 


The Joun Lowe.t Garpner Funp, 1925. 


pee Dey 


MER RICAN ARTS 
Court Floor Exhibition 43 


AMERICAN GALLERY 


qe Soutu WALL: A chest-on-frame is shown at each side 

of the doorway; both are of the early eighteenth century 
in the William and Mary style. They are both made of maple 
and walnut; one has mahogany veneer, the other is veneered 
with Amboyna wood. Hanging above the chests are portraits 
by John Smibert, and over the doorway is a panel of needle- 
work, in its original frame, showing an open book with ‘“The 
Ten Commandments” and a border embroidered with flowers 
and birds. It was made by Elizabeth Bennet in 1736. 

Tur East Watt: On the pier between the alcoves is a 
looking-glass of the Queen Anne period in a walnut frame, 
with a banister-back chair beneath. At the extreme left is the 
door, with its brass box-lock and wrought-iron hinges, from 
the parlor of the Jaffrey House. 

Tue Nortu Watt: A portrait by John Smibert hangs over 
a chest-on-frame of mahogany. On the chest is a small brass- . 
bound box of mahogany with the engraved date 1724; it is 
said that this was once owned by John Coburn, the silver- 
smith. In the modern cupboard is glass of the eighteenth 
century. 

Tue West Watt: A portrait by John Badger hangs at the 
right. Between the windows a looking-glass with walnut frame, 
made about 1710, hangs over a mahogany writing cabinet 
on which are brass candlesticks, all of the William and Mary 
period. Other examples of American furniture of the earlier 
half of the eighteenth century are shown beneath the windows. 

The lanterns hung in this gallery were designed and made in 
the Museum, copying an old model. 


Dimensions: length, 31’ 0”; width, 11’ 2”; height, 10’ 5”. 


AMERICAN ARTS 
Court Floor Exhibition 44 


Room rrom PorTsMouTH, 
RockincHAm County, NEw HAmpsHIRE 


ae house owned by George Jaffrey was built during the 
second quarter of the eighteenth century on land ad- 
joining the business center of modern Portsmouth. The room 
shown at the Museum is the parlor of that house and bears a 
close analogy to others known to have been built during the 
mid-eighteenth century. The room presents an ensemble rep- 
resentative of a mansion house of about the year 1750. 

Since all early woodwork is exposed to the changes of time, 
it is remarkable that this room stands in the Museum 
without restoration of any kind; even the floor boards are 
relaid as they were taken from the room by the Museum's 
workmen. It was necessary to repaint the woodwork in the 
original color, which is still preserved, and to omit one window 
to permit passage through the room. The wallpaper is con- 
temporary French paper of Chinoiserie pattern attributed to 
Pillement; a similar paper was formerly in the Jaffrey House. 

Most of the furniture of the room was made by American 
craftsmen not later than 1750, but occasional English pieces 
are appropriate here. The carpet is of Ushak type from Asia 
Minor, the use of which at this period is clearly shown in the 
works of contemporary portrait painters. The crimson hang- 
ings are damask of the eighteenth century with a Chinoiserie 
pattern. Their ornamental braid, cords, and tassels are the 
only modern materials in the room. The lambrequins are of 
an English design of the mid-eighteenth century somewhat 
simplified. 


Dimensions: length, 18’0’; width, 17’ 8”; height, 10’ Oc 


Henry Liu Pierce Resipuary Funp and Contributions from 
J. TempLemaN Cooutpce and Cuartes H. Tyter, 1920. 


PriRI CAN ARTS 
Court Floor Exhibition 45 


Mip-EIGHTEENTH CENTURY GALLERY 


Aye. of the arts of the mid-eighteenth century 
is shown in this gallery. The cupboard of painted pine 
in the south-west corner was removed from the George 
Jaffrey House in Portsmouth, New Hampshire; its probable 
date is 1730. The external surface of the cupboard has been 
repainted in the original color; the shelves and niche have 
been painted in the original color scheme of another cupboard 
of the period. The glazed door is modern, the original door 
hangs on the wall at the right. The exhibition case in the 
opposite corner was designed and made at the Museum. 

Tur Sour Watt: The four needlework panels with their 
original frames were made by Mrs. Benjamin Pickman in 
1740. The hangings at the window are of French printed 
cotton of the eighteenth century. A child’s tea set of Oriental 
Lowestoft is placed on a mahogany chest of drawers. 

Tue East Watt: Of the three portraits by John Singleton 
Copley, the center one is of George Jaffrey, the original owner 
of the Jaffrey House in Portsmouth. A block-front high chest 
of walnut, two “lowboys,” a desk, a high chest of mahogany, 
and chairs of Chippendale design complete the exhibition. 

Tue Nortru Watt: A case contains objects made chiefly 
for domestic use of wrought silver. A large bowl by William 
Homes was presented on September 13, 1763, to Thomas 
Dawes by the Field Officers and Captains of the Regiment of 
the Town of Boston for his services. An unusual piece is the 
“potato ring” made by Myers of New York. On each side of 
the case is a pastel portrait by John Singleton Copley, and 
an armchair. 

Tue West Watt: A portrait by John Singleton Copley 
hangs over a slant top desk of mahogany. Between the 
windows is a mahogany desk over which hangs a large looking- 
glass of mahogany with ornamental carving in gilt. Chests 
of drawers are placed beneath the windows. 


Dimensions: length, 33’ 11"; width, 25’7”; height, 10’ 5’. 


AMERICAN ARTS 
Court Floor Exhibition 46 


Room From FISKDALE, 
Worcester County, MAssacHUSETTS 
Date, about 1740 


w the Post Road, about two miles south of the town of 

Fiskdale, stands a house known as “The Shumway 
House.” Although it has suffered losses architecturally 
through change and neglect, there is ample evidence that it 
was once a fine house of the earlier half of the eighteenth 
century, probably about 1740. 

The paneling of two walls, in the southeast parlor, all 
that remained, was removed in 1925 and afterwards pur- 
chased by the Museum. In design, a kinship with contempo- 
rary work in Connecticut is apparent, an influence accounted 
for in the nearness of Fiskdale to the northern boundary of 
that State. 

The woodwork of pitch-pine has never been painted. The 
fireplace side and the adjoining north wall are original, the 
dado on the east wall is modern. The brick hearth and floor 
boards of painted pine are of the eighteenth century, although 
not originally in this room. The fireplace of granite is a care- 
fully made copy of the one at Fiskdale; an iron fireback of 
the eighteenth century has been placed against its back wall. 
The interesting arrangement of drawers over the fireplace 
is, as far as known, unique. The room contains American 
furniture in maple, walnut, cherry, and pine, of the earlier 
part of the eighteenth century. 

In the gallery space outside this alcove are other examples 
of American furniture, and in the modern cupboard are a 
few small objects made by American silversmiths. 


Dimensions: length, 15’ 3’; width, 13’ 10”; height, 7’ 10”. 


The HELEN and ALice CoLsurn Funp, 1925. 


mrp RT CAN ARTS 
Court Floor Exhibition 47 


Room FrroM MARBLEHEAD, 
Essex County, MASSACHUSETTS 
Date, about 1730 


a [Bae room, with its four walls completely paneled, is the 
north-east parlor of the Orne House on State Street in 
the Town of Marblehead. Its details are clearly of an early 
date and, although the actual year in which it was built is 
still to be ascertained, local tradition which assigns it to 1730 
is probably not far amiss. 

The paneled walls are complete as they were taken from 
the house, with the necessary restoration of the bolection 
moulding surrounding the fireplace opening, which had been 
removed to make way for a mantelpiece of the late nineteenth 
century; the new bolection moulding 1s based on contempo- 
rary examples found in Marblehead. The pair of doors in the 
lower part of the china cupboard and the window sash are 
modern. The floor boards, hearth tiles, and bricks are of the 
eighteenth century. The paneling of white pine is painted in 
a color similar to that uncovered when later painting was 
removed. The lowest shelf of the cupboard and the seat- 
boards in the window embrasures are of mahogany. 

The furniture in the room is characteristic of the first 
quarter of the eighteenth century and is mostly of walnut. 
The clock in its japanned case has brass works made by 
Philip Burchett of London. A small Ispahan carpet, probably 
made in the latter part of the sixteenth century, 1s placed 
before the hearth. The cupboard contains English pottery 
and porcelain mostly of the mid-eighteenth century. The 
interesting andirons with matching fire tools are of bell- 
metal. 


Dimensions: length, 16’ 0’; width, 16’ 10”; height, 8’ 4”. 


The Gift of Mrs. Georce H. Davenport, 1927. 


AMERICAN ARTS 
Court Floor Exhibition 48 


Room From Batu, 
SAGADAHOC County, MAINE 
Date, about 1803 


ya HOUSE known as Shepard’s Inn stood on Washington 
Street in the city of Bath until 1927. Just prior to the 
razing of the house to make way for a modern building, the 
Museum acquired the woodwork and wall paper of the parlor. 
As far as can be determined, the woodwork dates from the 
year 1803, and the paper was put on the walls the following 
year. They are seen in the Museum as they have stood since 
that time,-except for the omission of one window. 

The wall paper consists of parts of two sets printed in Paris; 
one is*a Directoire paper believed to have been, issued by 
Arthur and Robert and known as “Le Parc Francais”; the 
other, with costumes in color, is as yet unidentified. 

The furnishings of the room, with a few exceptions, are the 
gift of Mr. Pickman. All the furniture is American, and mostly 
of Sheraton design. The hangings of yellow silk and the chair 
coverings are of late eighteenth century. The carpet 1s Persian, 
of Feraghan type, of the eighteenth century. 


Dimensions: length, 16’ 10”; width, 1637s" hemht: 9: 6". 


The Gift of Duptey Leavitt Pickman, 1927. 


Pe tte 


AMERICAN ARTS 
Court Floor Exhibition 49 


GALLERY OF MAPLE FURNITURE 


Giles that is distinctly American, either in form or 
material, is exhibited in this small gallery adjoining the 
room from Bath. 

The chests of drawers, cupboards, desk, gateleg table, and 
chairs are made of maple and pine, and nearly all the cabinet 
pieces display the use of curly maple. 

The objects of this gallery were, with a few exceptions, lent 
or given by Mr. Dudley Leavitt Pickman. 


Dimensions: length, 20’ 11; width, 13’ 5”; height, 12’ 6”. 


mene Bb RIECAN ARTS 
Court Floor Exhibition 50 


GALLERY OF FURNITURE AND PEWTER 


A COLLECTION of American pewter is shown in the large 
exhibition case. The dinner service of Oriental Lowe- 
stoft, bearing the arms of the Sargent family, in the butler’s 
secretary, dating from the first quarter of the nineteenth cen- 
tury, has been lent for the Opening Exhibition. 

American furniture, mostly of the late eighteenth century, 
is also placed in this gallery. 


2 


Dimensions: length, 24’ 10”; width, 17’ 1”; height, 12’ 6”. 


Soeeae ee SN 


AMERICAN ARTS 
Court Floor Exhibition 51 


THE SEASONS WALL PAPER 


<a wall paper, probably printed in Paris about eighteen 
hundred, depicts the activities of the four seasons of the 
year. The panels in the northeast corner are part of another 
unidentified scenic paper. The wall paper was removed from a 
house in Hanover, New Hampshire, and presented to the 
Museum by Dartmouth College. The paper was printed in 
gray tones from wood blocks on sheets of paper measuring 
about sixteen by nineteen inches, and the range of scenic 
effect, including figures, architecture, distant hills, and great 
expanse of sky, has been accomplished with probably not 
more than seven notes from the lightest to the darkest tone. 

The woodwork of this room was formerly in the Dodd 
house, built about 1810, which stood on Salem Street in 
Boston. It has been modified in plan to form an advantageous 
setting for the wall paper. 

American furniture, samplers, and a few other objects of 
the late eighteenth or early nineteenth century complete the — 
furnishings of the room. The window hangings are of the 


period. 


Dimensions: length, 25’ 0’; width, 13’ 5”; height, 9’ 8”. 


os mmenaaeiigg 


AMERICAN ARTS 
Court Floor Exhibition 52 


SILVER GALLERY 


Ro exhibitions of silver show a wide range of objects made 
mostly during the latter half of the eighteenth century. 
For many years the Museum has accepted for safe-keeping 
and exhibition the silver owned by the Churches of New 
England. This silver for the most part was made by American 
silversmiths and, aside from their historic interest, these pieces, 
which have never changed ownership, are part of an artistic 
inheritance distinctly American. 

The fine secretary with paneled doors in this gallery has 
been attributed to John Goddard, the cabinetmaker of New- 
port in the eighteenth century. | 

Other pieces of American furniture and two portraits by 
John Singleton Copley and John Greenwood are also ex- 
hibited here. 


Dimensions: length, 22’ 7’; width, 17’ 1”; height, 12’ 6”. 


Pew ERI CAN ARIS 
Court Floor Exhibition 53 


AMERICAN GALLERY 


HE wall paper was brought to Boston from China in the 

Canton Packet by Thomas Handasyd Perkins in 1805. 

The decorative scheme of flowers, trees, and birds in color on 

a gray-yellow field was painted by Chinese artists. The chair 

rail and cornice shown with the wall paper are from the Dodd 
House, which formerly stood on Salem Street in Boston. 

This gallery also contains objects of American arts of the 
late eighteenth and early nineteenth centuries. 

On the stair landing are two clocks, one by Aaron Willard 
of Roxbury, the other by William Claggett of Newport, and 
a full-length portrait of Colonel Sparhawk by John Singleton 
Copley. 


Dimensions: length, 25’ 6”; height, 11’ 2”. 


OTHER EXHIBITIONS 


A few exhibitions remain temporarily on the Ground Floor 
of the Evans Building. Turning to the right from the Fenway 
Entrance, one finds the Bremgarten Room, the Lawrence 
Room, and the Leslie Lindsey Mason Memorial Collection of 
Musical Instruments. This important collection of Musical 
Instruments, only partially on view, not only illustrates the 
history and ethnology of instrument making, but is shown 
for its interest in design and craftsmanship. In the Lawrence 
Room is the William Arnold Buffum Amber Collection. 
Almost all phases of polished or carved amber are included 
in this collection. 


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COURT FLOOR 


LIST OF EXHIBITIONS 


Main FLoor 


. Tapestry Gallery 
. Gothic Gallery 
. Stained Glass Window from Hampton Court, Hereford- 


shire, England 


. Italian Gallery 

. Italian Gallery 

. Spanish Gallery 

. Netherlands Gallery 

. English Gallery, XVII Century 

. Room from Hamilton Palace, Lanarkshire, Scotland 
. Louis XVI Salon from Paris, France 

. French Gallery, XVIII Century 

. Boucher Gallery 

. Italian Gallery, XVIII Century 

. Main Stair-Hall 

. Tudor Room from Somersetshire, England 


GROUND FLOOR 


. Textile Corridor 

. Ship Model Gallery 

. American Furniture Gallery 

. Special Exhibition Gallery 

. South Stair-Hall 

. Salon from the Chateau de la Muette, Passy, Paris, France 
. Chamber from the Chateau de la Muette, Passy, Paris, 


France 


. Painted Room, Epoque of Louis XV, from Paris, France 
. Adam Gallery 
. Chippendale Room from Woodcote Park, Epsom, Shae 


England 


. English Gallery, XVIII Century 

. First McIntire Room from Peabody, Massachusetts 

. Second McIntire Room from Peabody, Massachusetts 
. Third McIntire Room from Peabody, Massachusetts 
. Lucy Derby Fuller Collection 

. Silver Gallery 

. Silver Gallery 


. American Gallery 


34-38. Offices of the Department and Textile Study 


LIST OF EXHIBITIONS 


Court FLoor 


. Frame from Ipswich, Massachusetts 
. Room from West Boxford, Massachusetts 
. Pine Paneling from Houses in Essex County, Massachu- 


setts 


. Pine Room from West Boxford, Massachusetts 
. American Gallery 

. Room from Portsmouth, New Hampshire 
. Mid-Fighteenth Century Gallery 

. Room from Fiskdale, Massachusetts 

. Room from Marblehead, Massachusetts 

. Room from Bath, Maine 

. Gallery of Maple Furniture 

. Gallery of Furniture and Pewter 

. The Seasons Wall Paper 

. Silver Gallery 

. American Gallery 


A few exhibitions remain temporarily on the Ground Floor 


of the Evans Building and in the Corridors on either side of 
the Lecture Hall. 


‘iii 


MUSEUM OF FINE ARTS, BOSTON 


PICTORIAL GUIDE 
to the 
DECORATIVE ARTS WING 


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MAIN FLOOR 


The visitor may enter the Wing either on the Main or Ground 
Floor, but for the easier use of the plan it is advisable to begin 
on the Main Floor, visiting first the Tapestry Gallery (1) at the 
head of the Main Stairway, Huntington Avenue Entrance, be- 
fore proceeding to the Wing proper. From the Tapestry Gallery 
return to the Rotunda and follow the East Corridor to the 
Wing, entering the Gothic Gallery (2) on the left. 


” 


3) 


TTT 
ee 


FN 


2 


‘oming Room, Hamilton Palace 
Scotland, ca. 1690 


3. Window, Hampton Court, 5- Italian Gallery 7. Netherlands Gallery 


4. Italian Gallery Cpe Gallery 9. 
Il 


2 Gothic Gallery 
Century 


10. French Salon, Peris 
ca. 171 


12. Boucher Gallery 


ca. 1760 


13. Italian Gallery 
XVIII Century 


Herefordshire, ca. 1435 XV-XVII Century XV-XVII Century XVI-XVIL Century 


XII-XV Century 


= 


19. Special Exhibition Gallery 


= 
For the sake of 


the chronologi- 
cal order, pro- 
ceed direct to 
the Chippen- 
dale Room 
(25). Adam 

allery (24) 
etc., returning 
tothe McIntire 
Rooms and ad- 
jacent galleries 
(27°33) s*eafter 
the American 
rooms on the 
Court Floor 
have been vis 
ited. 


28. McIntire Parlor 


27. McIntire Dming-Room 


26. English Gallery 


25. Chippendale Room, ca. 1750 


23a. French Gallery 
Woodcote Park, Surrey, England * 


20. South Stair-Hall 21. Salon, Chateau de la Muette 23. Painted Room, Paris 


32, Silver Gallery 


31. Silver Gallery 


30. Lucy Derby Fuller 
Collection 


29. McIntire Chamber 
Peabody, Mass 


Peabody, Mass. 


Peabody, Mass., 1800-01 


XVIII Century 


= Passy, France, ca, 1740 


Return to South Stair-Hall (20), de 
scend stairs, and continue into Ipswich 
Gallery (39). 

Rooms 37 and 38 are reserved for 
Textile Study 


i 4 


Ascend _ stairs 
and turn right 
into English 
XVIII Century 
Gallery (26) 
and again mght 
into McIntire 
Roomsand Gal- 
leries (27°33) e*« 
thus complet- 
ing the tour. 


Ground tr. 
FLoor 


EXITS 


To return from Ground Stair-Hall (33) to the 
Huntington Avenue Entrance, the visitor once 
more passes through the English X VIII Century 
Gallery (26), the Chippendale Room (25), etc., 
to the Ship Model Gallery (17), opening into the 
Main Building, 


. By door in Mid-Eighteenth Century Gallery 


(45). Court Floor, leading to the Garden Court 
and across to Main Building. 


. By door in French Salon (10), Main Floor, into 


Evans Galleries of Paintings. 


47. Parlor; Orne House, 


. Parlor, 
Marblehi base alge 


45. Mid-Eighteenth 


“Shepard's Inn” 
Century Gallery 3 


41. Pine Paneling, ca. 1700 42. Pine Room, ca. 172% 
43. American Gallery, 1700°1740 : 


40. Room, West Boxford, Mass. 


39. Framework from Ipswich, Mass. 
ca, 1700 


Foot of Stairs 
ca. 1675 


(Reached from 20) 


49. Gallery of 
le Furniture 


so. Gallery of 
Furniture © Pewter 


51. Seasons Wall Paper, ca. 1800 
Woodwork, ca. 1810 


52. Silver Gallery 


53- Court Stair-Hall 


Mary G.Parker. del. 


Descend stairs 
and turn right 
into English 
XVICentury 
Gallery (26). 


GROUND 
FLOOR 


COURT 
FLOOR 


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GARDEN 


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GROUND FLOOR 


The numbers of the rooms and galleries appear, as a rule, over 
the doorways. 


Guidance through the galleries of the New Wing is free on 
Wednesdays and Thursdays at 11:00 A. M.; on other days by 
appointment at 10:30 A. M. and 2:30 P. M., free to subscribers, 
to others at a fee of one dollar for each appointment of one hour, 
with twenty-five cents additional for each person in a group of 
more than four. 


A special illustrated handbook of the Department is on sale at 
the Sales Desk, Huntington Avenue Entrance; price, paper covers. 
50 cents; boards, $1.00; postage 10 cents additional. 


The Restaurant is reached from the Huntington Avenue Entrance 
and is open daily except Sundays and holidays from 11:30 to 3. 


Price, ten cents. 


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